. . . is like dancing about architecture. . . (Martin Mull)
If I may interject. . .
I’ve listened to the compositions here:
http://rayjozwiak.com/music.html
Before I even listened to Ray’s music, I had to deal with his website.
Unhappily, it’s a clunky old thing and you’ll find yourself bemused
with how even the simplest things can be complicated! I recommend
setting up a WordPress site, Ray. It’s dead easy and it will look a
million times better and work flawlessly, thus making it possible for
your potential fans to check your music out without missing a beat (pun
intended).
. . . quite possibly. . .
And now to the real issue at hand. The music.
The samples provided are mainly
solo piano pieces in a light
jazz style. Most have a lot of potential, actually, and all feel like a
welcome breath of fresh air in this mechanized-music world. But… there
are issues here.
While Ray’s picture shows him playing a real piano, I couldn’t help
but feel that many of these recordings were done on a piano
synth/keyboard and then quantized with a sequencer
. . . the piano in the photo was in fact NOT REAL, but an embryonic digital grand manufactured by Yamaha (off to a bad start). . . I don't know what quantization is. . . I could be dead
wrong on that front, but that’s how some of this comes across. There’s a
sense of rigidity which is so characteristic of quantization, so if
this has been actually played
. . .'fraid it's BEEN ACTUALLY PLAYED. . . should you just stop here?. . . and NOT quantized… Ray! You’ve got to
loosen up!
. . . I'm sooo tight. . . But if, indeed, it has been quantized – Ray, please stop
that!
. . . kinda damned if I did and damned if I didn't. . . A breath of 'quantized with a sequencer' fresh air huh?. . .
And so we come to my primary, and perhaps the only
. . . why did you go on to mention six more and throw in a seventh in the GOOD part then?. . . really meaningful
complaint. There are groove and tightness issues on these recordings
which simply
have to be addressed before this music sees a
wider audience. This is particularly evident in the few
multi-instrumental tracks within the above demo.
You’ve got to have a really loose feel when playing jazz, granted,
but here we’re dealing with two forces pulling in opposite directions.
On the one hand, many of the pieces feel rigid to the point of almost
quantized, and on the other hand, some of the piano pieces seem to be
doing their own thing while the background
. . . background??? on the SOLO pieces. . . .come again please. . . is stubbornly refusing to get
in synch!
Yeah I know. I’m a nitpicker from hell.
. . . NO, YOU!!!???. . . But as a piano player myself
and a part-time aficionado of good jazz, I wouldn’t be doing Ray any
favors if I didn’t point these issues out.
. . . you're TOO kind. . .
And then there is another side here. Ray clearly has the chops and a
good technique – a good little
. . . all 5'10" of me. . . piano player for sure. But there’s also
this thing known as a “take”
. . . thank you very much. . . in the modern recording world! If you play
it once and it ain’t quite perfect,
. . . "Perfect". . . thought you said you KNEW jazz. . . hit the record button again and do
another one! And another. And you can even seamlessly combine takes
using your sequencer
. . . I don't have a sequencer. . . so that the final product is just perfect enough to
be magical and just imperfect enough to be human.
In my view, then, the final production (i.e. attention to detail of
the performance, not just the way the whole thing sounds) needs another
serious look.
Since even the multi-instrumental pieces sound like it’s all done by
one person with a sequencer,
. . . I repeat. . . I don't have a sequencer. . . I would advise a different layering
strategy than what might be a typical pop example. Rather than starting
with sequencing a beat and then playing to it, start with pure piano
performances (done on an acoustic piano, ideally) and then play LIVE
along with the recording, when layering your drums, bass and whatever
else you like. Avoid quantization like the plague except to correct
minor errors.
And now for the good news. . . . there's GOOD news???. . .
As a composer, Ray is clearly in his element. He’s got some terrific
ideas there and an unusual approach to rhythm and song structure. These
are fantastic assets and more than one of his songs could find tons of
fans who appreciate music which isn’t the same ol’ same ol’ all the
time.
While I would question some of the dissonant notes here
. . . what a surprise!!!. . . and there,
none of that took away from the pleasure of immersing myself in the
melodic, chordal and rhythmic patterns which are definitely not run of
the mill. I miss this kind of music in today’s mad world.
. . . maybe you could have LINGERED on some of this huh?. . .
In summary then, this needs to be meticulously “produced.” Just keep
recording and fine-tuning each track until it completely rules. But make
sure that it swings and is tight like a flea’s arse
. . . sounds like you just might know something about THAT. . . – while at the same
time feeling loose and free. One of those paradoxical mysteries which
make jazz so compelling.
FOISFOIS
from AMBIENCE & WINE
©2011 Raymond M. Jozwiak
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